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Bartók: Violin Concerto No. 2 & Rhapsodies for Violin
Baiba Skride (violin)
WDR Sinfonieorchester Köln, Eivind Aadland
I like Skride’s finale best. Her technical prowess and agility enable her to lighten her bow and tone in order to bring out the folkdance character of the music. Even in the heavy, boot-stomping...
Bartók: Violin Concerto No. 2 & Rhapsodies for Violin
Baiba Skride (violin)
WDR Sinfonieorchester Köln, Eivind Aadland
Purchase product
I like Skride’s finale best. Her technical prowess and agility enable her to lighten her bow and tone in order to bring out the folkdance character of the music. Even in the heavy, boot-stomping...
About
For her eighth album on Orfeo, Baiba Skride presents a programme of works by the Hungarian composer Béla Bartók. In addition to his own instrument, the piano, the violin remained the most important instrument for Bartók throughout his life. This is probably due to the fact that, with its subtle versatility and traditional associations, the violin was eminently suited to his folk music transcriptions and adaptations. This new recording demonstrates Baiba Skride’s facility in conveying this special Hungarian atmosphere. She’s supported by the WDR Sinfonieorchester under Norwegian conductor Elvind Aadland. Baiba Skride (born 1981) is a Latvian classical violinist. She was the winner of the Queen Elisabeth Violin Contest in 2001, and has performed around the world, including alongside the London Philharmonic Orchestra, and New Zealand Symphony Orchestra.
Contents and tracklist
Awards and reviews
March/April 2020
I like Skride’s finale best. Her technical prowess and agility enable her to lighten her bow and tone in order to bring out the folkdance character of the music. Even in the heavy, boot-stomping passages, she never loses fiery-eyed, flashy passion of the piece. Recommended.
May/June 2020
Rooted in Hungarian folk music, the two Rhapsodies are structured in contrasting fast-slow movements, Lassú and Friss. Skride plays them
with such intensity and imagination that they feel nearly as significant musically as the concerto. This is such a superb recording in all respects, including Orfeo’s excellent sound, that it could easily be a first choice for any collector
November 2019
She reduces her quiet playing to the merest whisper, a glow-worm in the undergrowth, and her sense of colour (witness how she manipulates vibrato) is extremely vivid. But she can be boldly assertive too...She never baulks at the prospect of using glissando as a folksy expressive device (Bartók’s own directive) and tension is maintained throughout all three movements.
March 2020
Throughout this recording, Skride shows that she is a fine interpreter of Bartók’s music, and on this evidence, I would like to hear her performing more
